Jan Daňhel

After years together, Petr and Hana, partners in work and in life, share their unspoken erotic fantasies. What begins as an innocent conversation gradually turns into curious experimentation with a non-monogamous approach to their relationship. But sexual freedom tastes differently for each of them. Without resorting to exploitation, Tomasz Wiński’s feature debut considers questions that are taboo for many couples. Borders of Love explores not only various forms of intimacy but also ways of depicting it on the big screen, since, among others, the protagonists themselves film each other on their mobile phones. Appearing in the main roles are Matyáš Řezníček and Hana Vagnerová, who collaborated on the film’s story and script as well.

The father falls into a coma. The mother and son silently concentrate all their powers. They meekly accept the diagnosis but resist the verdict. Yet they reject an open conflict because the life thread is so taut that conflict could inadvertently break it.

Set during the period of normalisation in Czechoslovakia, in 1980 two friends apply to study at a Roman Catholic seminary in order to escape the moral devastation of society in the communist regime. They soon discover that the seminary is controlled by Pacem in Terris, an organisation of clerics willingly collaborating with the regime.

체코 출신 감독이자 애니메이터, 인형 제작자인 얀 슈반크마예르는 독창적이고 초현실적인 연출을 통해 애니메이션 거장으로 인정받은 한편, 테리 길리엄과 퀘이 형제 등 후배 감독에게도 큰 영향을 끼친 예술가다. 그는 1964년 첫 단편[마지막 속임수 The Last Trick]를 만든 이래 2018년 [벌레 Insect]까지 34편의 장·단편을 작업했다. 이 다큐멘터리는 [벌레]를 연출한 뒤 기획된 것으로, 그의 오랜 동료들과 예술적 동반자인 부인의 인터뷰, 그리고 대표작 [앨리스 Alice](1988)를 비롯한 다양한 작품의 자료 화면을 활용해 완성되었다. 유쾌하면서도 시적이며, 체코식 유머가 깃든 그의 진솔한 모습은 한 예술가의 초상을 보여주는 데 부족함이 없다.

체코 출신 감독이자 애니메이터, 인형 제작자인 얀 슈반크마예르는 독창적이고 초현실적인 연출을 통해 애니메이션 거장으로 인정받은 한편, 테리 길리엄과 퀘이 형제 등 후배 감독에게도 큰 영향을 끼친 예술가다. 그는 1964년 첫 단편[마지막 속임수 The Last Trick]를 만든 이래 2018년 [벌레 Insect]까지 34편의 장·단편을 작업했다. 이 다큐멘터리는 [벌레]를 연출한 뒤 기획된 것으로, 그의 오랜 동료들과 예술적 동반자인 부인의 인터뷰, 그리고 대표작 [앨리스 Alice](1988)를 비롯한 다양한 작품의 자료 화면을 활용해 완성되었다. 유쾌하면서도 시적이며, 체코식 유머가 깃든 그의 진솔한 모습은 한 예술가의 초상을 보여주는 데 부족함이 없다.

체코 출신 감독이자 애니메이터, 인형 제작자인 얀 슈반크마예르는 독창적이고 초현실적인 연출을 통해 애니메이션 거장으로 인정받은 한편, 테리 길리엄과 퀘이 형제 등 후배 감독에게도 큰 영향을 끼친 예술가다. 그는 1964년 첫 단편[마지막 속임수 The Last Trick]를 만든 이래 2018년 [벌레 Insect]까지 34편의 장·단편을 작업했다. 이 다큐멘터리는 [벌레]를 연출한 뒤 기획된 것으로, 그의 오랜 동료들과 예술적 동반자인 부인의 인터뷰, 그리고 대표작 [앨리스 Alice](1988)를 비롯한 다양한 작품의 자료 화면을 활용해 완성되었다. 유쾌하면서도 시적이며, 체코식 유머가 깃든 그의 진솔한 모습은 한 예술가의 초상을 보여주는 데 부족함이 없다.

The film chronicles the events of a village on the Czech-Austrian border from the 1930s to 1950s, where genocide occurred due to fallout between German citizens and Czechs who collaborated with the Nazi regime during the war.

In a small Czech town, mother dependent Robert, his attractive girlfriend Simona, histrionic Tomas and extremely reserved History freak Funes, all dissatisfied with their lives, are members of the same string Quartet. As they rehearse for their next concert, they will get into a circle of eccentric situations and misunderstandings.

One of the best Czech composers of film soundtracks is often described as a genius of film scores. He was not afraid to experiment and the timelessness of his work is proven by the admiration of the world, including the generation who came to know his music only after his death.

A pig farm in Lety, South Bohemia would make an ideal monument to collaboration and indifference, says writer and journalist Markus Pape. Most of those appearing in this documentary filmed in Slovakia, the Czech Republic, Poland, France, Germany and Croatia have personal experience of the indifference to the genocide of the Roma. Many of them experienced the Holocaust as children, and their distorted memories have earned them distrust and ridicule. Continuing racism and anti-Roma sentiment is illustrated among other matters by how contemporary society looks after the locations where the murders occurred. However, this documentary film essay focuses mainly on the survivors, who share with viewers their indelible traumas, their "hole in the head".

Martina is 18, loves dancing and goes by a nick name Shakira. Also, today she is leaving an orphanage...

When not serving regulars at a pub in the middle of a sleepy northern Moravian village, thirtysomething Maruna spends time with hesitant Jura and naïve outsider Olin – or fighting with her imperious mother. Lightened with a touch of black humor, this laconic village drama is the directorial debut of the artistic director of Prague’s Dejvice Theater who gave the members of his ensemble a one-of-a-kind acting opportunity in film.

Relationship between two women – mother and daughter in the second half of the 20th century. The story takes place in a old family house. The mother is confined to bed unable to move in her daughter's custody. The daughter comes in her mother's room to take care of her with a confession to tell. Something happened with her son and her mother's grandson three years ago.

Fogi is enjoying his never ending puberty. But simultaneously Fogi is also trying to live up to his family duties and bring up Véna, his son from the first marriage. He did not get married again but lives with Jana, a post office employee. Together they have little Anicka and they all live in a flat in a small town. At first, Jana is trying to tolerate Fogi's moods, but her patience is running out. Fogi loses his job. On top of that he starts to see himself in his adolescent son and realizes with horror that Véna repeats his own mistakes. The first fights, bans and mutual misunderstandings are approaching.

A doc presenting portraits of four people unafraid to reveal their particular lifelong penchant for sadomasochistic practices: Altair, whose orientation links him to the world of horses, latex lover Fronéma, the provocative Lenka, and government employee Terezie.

Vaclav, the village loser, in his 40's bordering on autism, lives with his widowed mother on the outskirts of the village. He is seen by villagers as the local fool, nothing but a constant pain for them, but there is a skeleton in the village closet concerning his father's death.

Over the course of a year, in a small town scarred and beaten down by industrialization, Tonda and Monika, friends since childhood, come to experience what life might be like if they could be with one another – which they seemingly can't. Or can they?

A portrait of a small Moravian village and its quirky inhabitants.